100 Day Project: 1-11

Last week, I went through a little bit of a meltdown when at 1 A.M. I tore bunch of pages of my drawing copy in rage, threw them all over my room and furiously went back to my painting which was the cause. I wasn’t getting it right, far from it… it was so so wrong. It looked ugly and I can’t paint, why do I even try?

This is an usual occurrence. Output don’t match up to my expectations. I get crazy. I deduce I can’t obviously continue with my pitiful results. This has been happening of late. Lack of practice will do that to you. Knowing the logical thing, even in an illogical state of mind, I decided to start a 100 day project, my second attempt at it. My first 100 day project was a life-changing experience. It taught me little things about technique, wonders of daily practice, and bigger lessons about focusing on process over product. But it has been a year since the last 100 day project. I thought I would be able to practice, and for sometime I did keep to it. But changes, primarily getting a full-time job in a new city, deviated me. I continued to paint on and off, but there was a marked difference in quality, which can only be improved by practice. Hence, another 100 day project.

This time round, the goal is to become well averse in the technique of wet on wet. As always it will be fashion illustration, subject matter being photographs of latest collection that catches my eyes. Bil Donovan, a personal hero, is the inspiration (last time it was Michael Ward). His work is majestic and looks so effortless. And that is the key word here. Effortlessness. Ironically, requiring a lot of effort. To be able to control the brush, the ink and the colors while manipulating space – making less more. So the aim of the project apart from the main goal is to loosen up my movement while painting, bringing a fluidity. Being confident with the brush enough to not use a pencil. Using a pencil was like safety net, it can be redone. But when you are only using the brush, every stroke counts, making you conscious of your action and its impact. So if you fuck up, you have to cover it up or start again. Which is excruciating in its own way, but that’s the process. Wet on wet technique is achieved best when done quickly, devoid of details playing up bigger aspect that makes a visual attractive. The fundamentals essentially – shape, color, form, movement. So its very much back to basics.

IMG_20170609_201054_009Day 1 – Rosie Assoulin Resort 2018

Day 1 had to start with Rosie Assoulin. Her clothes are painfully pretty but not in a way that alienates you. Its kooky pretty. I don’t lust it, but it would be magical to own a Rosie Assoulin. Her collection uses shapes and color so beautifully the movement makes for incredible visuals. I am not too crazy about how this turned out on day 11, but day 1 sure was fun (which is the point).

IMG_20170610_203349_051Day 2 – Elizabeth Kennedy Resort 2018

I made a mess again. I thrashed my room. I started with a different visual reference, hated how it turned out the first time, hated it the second time and the third time. Changed the reference image again, hated all the attempts again. There were paper in crumpled up balls and bits everywhere. I was also shaking a little at how bad it was. The third reference image was of a simple shimmering gown. I won’t say this is great, but the simplicity of capturing the areas of shadow was little satisfying.

IMG_20170611_232331_082Day 3 – Altuzarra Resort 2018

Beautiful gown, also a beautiful collection. Second reference image. Initially I wanted to go with something more graphic, but I just couldn’t put it together well. I turned to this more romantic dress. This wasn’t my first choice only because I wouldn’t be able to do justice to the details. But wet on wet is not about details, so I had a little fun with the freedom to not be too true to the visual.

IMG_20170612_220938_480Day 4 – Adam Lippes Resort 2018

By day 4, this was my favourite. I liked the composition. I focused more on the girls and their bodies and faces. The clothes were simple yet striking, so that helped plenty. Also darker the brown on the skin, the better the clothes look to me.

IMG_20170613_214507_627Day 5 – Stella McCartney Resort 2018

Confession – very high when I did this. This coat is brilliant on so many accounts. I might redo this again. Using natural hair brushes, ink instead of watercolor and a brain not swimming in weed.

IMG_20170615_000938_349Day 6 – Stella McCartney Resort 2018

It was fun just playing with primary colors for this one. But I didn’t pay attention to any of the fundamentals. I abhor it.

IMG_20170615_225503_107Day 7 – Monique Lhullier Resort 2018

This collection is as pretty as this artwork is not. But brushwork got slightly better, especially the roses. Maybe only the roses.

IMG_20170616_223655_771Day 8 – Sachin & Babi Resort 2018

I loved how this turned out. I was incredibly relaxed when I did this, I payed attention to the movement, consistency of the colors and played up the light and shadow. It was Fun.

IMG_20170617_223844_469Day 9 – Carolina Herrera Resort 2018

I love this collection I made three sketches from it. I hate how the face turned out. It looks scary.

IMG_20170618_172416_930Day 10 – Carolina Herrera

Polka dots make for a good visual. Simple silhouette in a striking color or print is what I should focus on perhaps. Still trying to loosen up my brushwork.

IMG_20170619_221724_914Day 11 – Carolina Herrera

Definitely going for lesser details, but pretty surfaces on beautiful dresses are a weakness currently.



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